Epic in scale, static, timbre, and stillness, Null is a vast and profound musical project that Luigi Archetti has been pursuing over a long period. His musical research is not about "null" (the German word for "zero") as a mathematical object, as a real number. Instead, the term "null" is used here as a metaphor to describe a state of pausing and anticipatory waiting. The music of Null is characterized by static sounds, drones, and their overlapping and layering. The sound surfaces turn into acoustic "sluggish material" which flows slowly through time and gradually transforms itself. It is a constant gliding, a constant mutation of sound structures. Attempts to discover clearly defined melodies, rhythmically ordered structures, or even beats are to no avail. A universe of sound particles diffuses in the foreground of the musical atmosphere, whereby the sounds do not provide any reference whatsoever to a possible location. All the sounds in Null are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigreed sound fabric which develops a pull-effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events. Null IV-VII, presented as two double-CD sets in an outer box, and follows Null (ZEITC 003CD, 2010) and Null II/Null III (ZEITC 009CD, 2012). All seven CDs are available in a special CD slipcase box as Null I-VII (ZEITC 3-9-18-19).

Epic in scale, static, timbre, and stillness, Null is a vast and profound musical project that Luigi Archetti has been pursuing over a long period. His musical research is not about "null" (the German word for "zero") as a mathematical object, as a real number. Instead, the term "null" is used here as a metaphor to describe a state of pausing and anticipatory waiting. The music of Null is characterized by static sounds, drones, and their overlapping and layering. The sound surfaces turn into acoustic "sluggish material" which flows slowly through time and gradually transforms itself. It is a constant gliding, a constant mutation of sound structures. Attempts to discover clearly defined melodies, rhythmically ordered structures, or even beats are to no avail. A universe of sound particles diffuses in the foreground of the musical atmosphere, whereby the sounds do not provide any reference whatsoever to a possible location. All the sounds in Null are sourced from e-guitars, which are in part extensively defamiliarized through digitalization and thereby redefined. The e-guitars (frequently in scordatura tuning) are used to this end as suppliers of sound. The acoustic sedimentation of the diverse sounds and sound structures results in a dense and filigreed sound fabric which develops a pull-effect on the listeners. It is an invitation to travel in uncharted regions, a hypnotically captivating journey through timeless and minimal acoustic events. Null I-VII, presented in a special CD slipcase box, collects all seven CDs also released as Null (ZEITC 003CD, 2010), Null II/Null III (ZEITC 009CD, 2012), and Null IV-VII (ZEITC 018-19CD, 2015).

Null II and Null III are the second and third part of Italian/Swiss composer Luigi Archetti's massive electronic work on the theme of "nothing" ("Null"), whose first part saw the light with the 2010 Die Schachtel "Null" edition in the ZeitComposers series (ZEITC 003CD). Within these pieces, Archetti's thick sound-drones border on the edge of tonality as their many layers develop with a sort of "geological" pace. The work is in fact intended as musical research on the "interior" of sound, obtained by large masses of sound punctuated by seemingly minimalistic details. The mastery of Luigi Archetti conducts the listener deeply inside the musical event, while at the same time introducing a model, just like the traces of a gold seam in rocks, which the listener can follow and frequently re-encounter over the 140 minutes in which the music unfolds. The result is a trance-inducing sense of slow-motion and even stillness, alternating with subtle changes often obtained only by tiny, almost "invisible" variables. Null is a vast and profound place where perception is confronted with a stream of slow-developing, sometime "still" sound. Null II and Null III will certainly appeal to fans of Eliane Radigue, Thomas Köner and long and sustained drone electronic music in general.

Die Schachtel presents an album by Switzerland-based composer, experimenter, guitarist and visual artist Luigi Archetti. Null is a monolithic, sinister and doomy drone masterpiece. Oscillating in filigree nuances, the modulation of a drone that seems to last an eternity alone indicates that the sense of real time has been canceled, while, at the same time, another acoustic track surfaces like a distant memory, only to disappear again. A universe of sound particles spreads out, in which the sounds provide no references to a possible location. What the ear might consider to be the crunching sound of snow crusts, the deep droning of ice breaking, the scraping of migrating glaciers is often merely an acoustic hallucination, while actually the sounds have been composed using the finest of sound particles, which Archetti's ear has taken from completely different sources, such as the hum of generators, or the white noise of a blank video tape being played, or drone sounds created with the E-bow, which he extracts from his electric guitar (often with scordatura tuning). An intermediate realm is created in which acoustic sedimentations are layered into a sound tapestry so dense, that it feels like there is almost no air left to breathe or to hear with anymore. But it also draws one in like an invitation to journey further into unexplored regions, a journey through timeless and spare acoustic events with a rivetingly hypnotic effect. Housed in a deluxe tri-fold digipack edition.